Kokoro Dance Theatre Society
2025 Wreck Beach Butoh Workshop and Performance
Thank you so much for signing up and participating in this year’s Wreck Beach Butoh workshop! A primary distinguishing feature of butoh practice is the use of imagery to motivate and inform movement choices. While butoh is a highly individual expression of dance, the commonality in butoh practice is the intense concentration and focus on the body as a receptacle of memories embedded in our skin and bones. We are all unique individuals, but our individuality has been buried through years of servitude to conformity. We need to rediscover who we are, and the use of imagery allows individual responses that are keys to reintegrating our identities. Butoh training concentrates on the integration of mind, body, and spirit. Also, in butoh, there is more attention paid to the space between events instead of just to the events themselves. The Japanese call this concept ma and it allows time to contemplate dance during the dance itself rather than having to digest ceaseless movement afterwards. Butoh stretches time and space through changing one’s own sense of time and space.
This workshop begins with an investigation of one’s butoh body where each part of the body is viewed poetically rather than anatomically. From there, we will discover how a butoh dancer walks, a journey that begins the stretching of time and space. Building on this foundation of butoh practice, the workshop then explores how imagery is translated into choreography.
In this workshop you will develop both a solo journey and a group journey. You have the responsibility to perform your solo journey within a group journey. If you tend to lead the group, you must learn to also follow. If you tend to follow, you must learn to also lead.
Workshop, Undress and Performance Schedule
July 28 to August 7 2025
9:00 AM–4:00 PM
Location of Workshop
Located at 111 West Hastings Street Vancouver BC Canada
Once at Hastings, proceed toward and into the courtyard area!
Head to this door and press the grey intercom button above the keypad with blue letters.
Proceed through this door and down the stairs!
WBB Workshop Codes of Conduct
• Arrive on time
• Wear clean workout clothing. Bring extra clothing if you perspire a lot. Do not wear perfume or cologne
• Dressing room, washrooms, and showers are integrated – be respectful of each other’s privacy
• Bring your own towel and soap if you want to use the showers
• No shoes or socks in studio (leave in hallway outside KW Production Studio doors)
• If there is no room for street clothes in the dressing room, please leave clothes folded or in your dance bag under the alcove on the north side of the KW Production Studio
• Clean up after yourself (if you perspire a lot, please wipe up perspiration)
• Do not leave any personal belongings in the studio overnight
• Bring your own water container. Keep hydrated as needed. For the Undress Rehearsal and Performances, bring an extra water container for applying white makeup and later removing it
• Do not eat food inside the studio
• Confine social chatter to greetings in the morning. Socialize at lunch break or at end of day
• Respect your fellow WBB participants. Do not offer to help/coach others unless asked to do so
• Save your questions for lunch break or end of day
• Washroom breaks: Please use washrooms before class and try not to go again until class ends or if there is a class break. If you must go, just leave quietly and return as soon as possible. Class will not stop while you are gone!
WBB Workshop Schedule Detail
Monday, July 28 to Friday, August 1, 2025, and Monday, August 4 to Thursday, August 7, 2025:
• 9:00am to 9:30am: Arrive, use washrooms, review notes, warm yourself up
• 9:30am to 11:30am: Morning class. Please work in silence
• 11:30am to 12:30pm: Lunch break. Please eat outside in the Woodward’s Atrium
• 12:30pm to 2:00pm: Rehearsal. Please work in silence
• 2:00pm to 2:15pm: Washroom, hydration break
• 2:15pm to 3:30pm: Rehearsal. Please work in silence
• 3:30pm to 4:00pm: Rehearsal ends. You may stay to ask questions, write notes, shower, or wind down
• 4:30pm: KW Production Studio closes
Undress and Performance Schedule
Location of Undress and Performance:
Foot of #4 Trail Below UBC Museum of Anthropology.
University Endowment Lands, BC
V6T 1Z2
Friday August 8, 2025 Undress Schedule:
What to bring: 2 water bottles (for drinking and for washing yourself), food for end of day, soap for Japanese towel (available at ABC Store in International Village) for washing (see addendum for applying and removing white makeup)
• Low tide 0.60 m: 11:54am
• 10:00am: Arrive at 100 metres west of foot of #4 Trail below UBC Museum of Anthropology. (call Salome 672-272-7893, Jay 604-512-9425, or Barbara 604-318-7190, if you are running late)
• Clean path from assembly area to beach
• 10:30am to 11:00am: Walk & talk WBB score
• 11:00am to 11:30am: Put on white makeup. Ask someone if you need help applying makeup to your back or to check for missing spots. Do not help without asking first if help is needed
• 11:30am: Start undress rehearsal
• 12:30pm to 12:40pm: End undress rehearsal
• 1:00pm: Notes
• 1:30pm: Lunch (bring your own food and beverage)
• Take all garbage and recycling to receptacles at top of Trail #4 steps or take home
Saturday August 9, 2025 Performance Schedule:
• Low tide 0.58m:12:31pm
• 11:00am: Arrive at 100 metres west of foot of #4 Trail below UBC Museum of Anthropology. (call Salome 672-272-7893, Jay 604-512-9425, or Barbara 604-318-7190, if you are running late). Clean path from assembly area to beach
• 11:30am to 12:00pm: Put on white makeup.
• 12:00pm: Start performance
• 1pm to 1:10pm: End Performance:
• 1:30pm: Notes
• 1:45pm: Lunch (bring your own food and beverage)
• Take all garbage and recycling to receptacles at top of Trail #4 steps or take home
Sunday August 10, 2025 Performance Schedule:
• Low tide 0.69 m: 1:05pm
• 11:30am: Arrive at 100 metres west of foot of #4 Trail below UBC Museum of Anthropology. (call Salome 672-272-7893, Jay 604-512-9425, or Barbara 604-318-7190, if you are running late). Clean path from assembly area to beach
• 12:00pm to 12:30pm: Put on white makeup.
• 12:30pm: Start performance
• 1:30pm to 1:40pm: End Performance:
• 2:00pm: Notes
• 2:15pm: Potluck Party (bring your food to share and beverage)
1992 Notes on butoh from Koichi and Hiroko Tamano Conceptual Prerequisites for butoh
• There is one side to see and another side to be seen.
• There are differences of how one has been nurtured, differences of the climate, differences of geography, and differences of culture.
• There are influences from one's upbringing, including the differences in their temporal settings, differences in the kinds of food one eats, differences in the ways one uses his body, and differences in the sensitivities of one's location, north or south.
• One must also consider how one senses this world of tactile sensation- fingers and feet of visual sensation of taste sensation of tactile sensation through skin of hearing sensation of smelling sensation.
• Consider the movements of an object; and its transformation.
• Seeing the images in the mirror one tends to be limited by reflected images: not seeing the spirit behind the forms.
• A butoh dancer expresses what comes out naturally and subconsciously from inside their body.
• They are to observe the world that surrounds us: inhale it within and exhale it in different forms.
• There exist differences in man's awareness of his time, space and his body; and that of a woman.
• When one concentrates and focuses on objects of their desire, that process of concentration may distort their awareness of time and space.
• There are ways to embrace and contain this time and space with force or without force and the variation therein.
• The ways of expression differ with words one chooses.
• The images of different words bring forth different associations for each dancer; creating different ways of expression for each.
• Being born and nurtured on this earth, a point in the universe, one now stands in the world of instantaneous communication with anywhere.
• As one stands at any point in this globe, they experience the passage of time that flows simultaneously.
• This is when the butoh dancer takes a position, the global time-space stream starts to change; so that past, present and future can be embraced at any given moment that they choose.
• As the butoh dancer sees themself dance, they see themself as a reflected image, detached from their body.
• They become a musical instrument being played by another person.
• They see themself as being seen.
Shunryu Suzuki – Zen Mind, Beginner’s Mind
Beginner’s Mind
“In the beginner’s mind there are many possibilities, but in the expert’s there are few.”
Right Practice
“Zazen practice is the direct expression of our true nature. Strictly speaking, for a human being, there is no other practice than this practice; there is no other way of life than this way of life.”
Right Attitude
“The point we emphasize is strong confidence in our original nature.”
Butoh Body (from 2010 WBB)
• A rope is attached to your head from which you are hanging, pulling you upwards
• Gravity in your belly pulls you down. Your spine is stretched upwards and downwards at the same time
• You feel the sun on the top of your head. The sun’s warmth heats your body
• Your eyes see everything to your right and left all at once. You have eyes in the back of your head that see the space behind you. Always notice your surroundings when you enter the studio or arrive at the beach. You do not focus on any object. You see everything at once, but nothing in particular
• Your body is a bag full of water (“waterbag-body”). When needed, water feeds from the soles of your feet and drains from the soles of your feet. You have no muscles, organs, or bones, only water. To stand up, your body fills with water. To squat, water drains from your body
• Farmers work on your calves. Your calves are farm fields. Check your farm fields to see if the farmers are working. If you cannot feel them working, you need to drain water to make them work
• Your thighs are golden wheat fields spreading outwards like the radiation of the sun
• You have a swamp in your belly. Some strange sleeping power is brewing in your belly. You don’t know what it is, but you are always aware of it
• Your back is like a rock field, boulders stacked one upon another, rigid but mobile
• A waterfall plummets down your back
• Tall ancient old-growth forests on your shoulders. You support them carefully so that the treetops grow toward the sun. Their roots send energy to the earth below
• Rivers flow down your arms, water out your fingertips
• Flowers bloom on your chest and with every inhalation through your nose, you search the air for the fragrance of the flowers to fill your lungs and spread throughout your body
2025 WBB PERFORMANCE SCORE
After everybody has arrived and path to water is cleared of stones)
Butoh Body
1. After finishing white makeup application, find your butoh body
Butoh Walk
1. Butoh walk across the water to the sand bar
2. You feel the resistance of the air upon your body as you travel a hundred kilometres with each step
Ecstasy Jumps (can be small or large depending on ability)
1. Stand and feel ecstasy fill your body
2. 16 ecstasy jumps, gather up the energy with left foot in demi-pointe and send it to the left
3. Walk to another ecstasy pool
4. 24 ecstasy jumps, gather up the energy with left foot in demi-pointe and send it to the left
5. Walk to another ecstasy pool
6. 32 ecstasy jumps, gather up the energy with left foot in demi-pointe and send it to the left
7. Stand and feel your butoh body as you begin to walk
Butoh Walk to Ocean
1. Butoh walk into the water until waist deep, fanning outwards into two lines with shorter people in front and wait for all to do the same
2. Wait for “coo” from last person
3. Take a breath and hold it and sink down under water. Come up when you need air.
Jasper Park Lodge Soup Kitchen Splash Dance
2 rows with front row of shorter people, waist- deep in water in wide parallel stance - follow Salome’s lead after she gives a “coo”
Slow:
1. 16 chopping of vegetables – as if standing in front of a cutting board, covered with raw vegetables, raise right hand overhead with straight arm and chop down with baby finger side of flat hand with fingers together making a big splash, repeat chopping action with same right arm, chop with left arm, chop with right arm. Repeat cycle 4 times alternating starting arm: (1)RRLR (2)LLRL (3)RRLR, (4)LLRL
2. 16 making vegetables into pile – with arms stretched wide on the surface of water, scoop hands together, as if wrapping arms around a large tree trunk, splashing water
3. 16 throwing vegetables into huge cauldron – reach both arms to the right, scoop water into your cupped hands and throw water over your head to the left, repeat 15 more times
4. 16 throwing salt and pepper into cauldron – stretch straight arms outwards to opposite sides with cupped hands, scoop right hand into water (salt) and throw it overhead to the left, scoop left hand into water (pepper) on the other side and throw it overhead to the right, repeat R L cycle total of 8 times
5. 8 stirrings of soup stock – as if standing with arms shoulder-high at edge of cauldron holding a large wooden spoon with both hands, make a large counterclockwise circle in the water in front of you 8 times
6. Tired walking to the west – after stirring turn slowly to your right, drop head down as if tired and slowly walk to the west 10 steps, keeping the same distance relationship between yourself and the people in front/behind you and to the people in the other row. Stop after 10 steps and turn your body to face the shore.
Medium speed:
1. 16 chopping of vegetables: 4 times alternating starting arm: (1)RRLR (2)LLRL (3)RRLR, (4)LLRL
2. 16 making vegetable into pile (pushing hands together)
3. 16 throwing vegetables into huge cauldron
4. 16 throwing salt and pepper into cauldron
5. 8 stirrings of soup stock
6. Tired walking to the west
Fast as you can:
1. 16 chopping of vegetables 1-1,2,3
2. 16 making vegetables into pile (pushing hands together)
3. 16 throwing vegetables into a huge cauldron
4. 16 throwing salt and pepper into the cauldron
5. 8 stirrings of soup stock
6. Tired walking to the west
Hold your breath and submerge your body, and after coming up for air, begin slow walking toward the shore with arms doing breaststroke. When in water shallow enough to propel your body with your hand on the sand, you become a floating log.
Floating and Rolling
1. Floating on back and front for several minutes in knee-deep water, drifting with the waves.
2. Rolling like a log with more energy in ankle deep water, always roll one more roll toward the UBC cliffs than you do toward the mountains across English Bay, e.g. 2 or3 toward the cliffs followed by 1 or 2 toward the mountains to the north. Progress eventually 15 to 20 feet up on the beach, keeping your log body from being too close to anybody else.
3. Curl into an energized foetus shape on either side of your body and hold for at least one minute (like a foetus swimming inside the containment of your mother’s womb)
4. Roll in and out of energized foetus shape on alternate sides a total of 3 times
5. Add bowed body (dig toes into sand, lift hips slightly off the ground, keeping toes and shoulder where they are and push hips forward to bow-shape your body then curl back into energized foetus. Repeat foetus/bow cycle 2 more times increasing in acceleration.
6. After 3rd bowed body/foetus cycle, start walking/running on one side around in a circle supported by one arm. If you don’t have the strength to do this, take 2 minutes to go from foetus to standing.
7. For foetus runners, push yourself into low squat and then walk/run in a circle on the other side. Alternatively, for those who are not walking/running, go from standing back to fetus and back to standing.
8. For those who can do the walk/run with one arm support, find a way to come up standing. (At this point all dancers are in a line facing the cliff)
TRANSITION. (Suggested transition)
1. Becoming three: softly begin to raise the arms, feeling the wind beneath them. Establish this image and then, on cue, arms become antlers. Arms over the head, upper arms above horizontal line with elbows behind the body line, palms forward with wrists bent. Walking, intertwining with each other, leading with toes and knee zigzagging upwards like a car driving up a mountain through hairpin turns: L,R,L, R, lift foot straight ahead and step forward on five and travel along the shore away from the water to higher ground, towards the cliffs and west. Gather in a group. On the last step, bring the torso and arms down to unfold the spine, finishing in butoh stance, palms on thighs.
Salome’s Bird Movement - inspired by male birds courting
1. With arms in front of the body, palms on the thighs. Kick the right foot to the back and turn 45 degrees to the left. Step on the right foot and bring the left foot to join in parallel, while keeping elbows close to the body, move the arms slightly up from the elbow, forward and back down. Repeat to the R, L, R, L, R, L, R. (Some dancers will start on the other side.) This is done in a group, weaving in and out—meandering. 2 – sets of 8.
2. After both feet meet one last time in parallel, step to a second position (wide stance), remain in plié and find a wave on the ribcage that moves side to side with arms following the rib’s movement. L, R then, keeping arms open to the sides of the body, continue the movement from the ribcage in a circular motion from R, down, L and centre. With staccato, tap the sternum with both hands, R, L (ta-ta) on count 5. Arms finished open to the side of the body again, and feeling air underneath the arms, sustain the movement.
3. Arms moving from the shoulder blades, on the side of the body, curved, palms forward, elbows facing back. 4 butoh walks landing with weight (do not go up and down), as the arms move forward and back. On 5, 6, step, feet together, bringing arms over the head, arching the body forward, as if covering the front with arms. On 7, 8, unfold the spine and repeat the sequence to the other side, travelling in the opposite diagonal.
4. Half body turn. Curving the upper body over with arms on the 2nd (cat back) step with the left foot and bring the other half of the body around. Repeat on the right. Repeat steps with arms up. Do this sequence twice. 2 - 8s.
5. 4 turns to the right, with an over curvature. Then 4 turns to the left with arms up and open. Twice, 4 - 8s. with the last 8 counts to slow down and bring arms down and body to a neutral stance.
Salome’s Travelling Steps (To west):
Locomoting step.
1. On cue: with a swaying motion or rocking forward and back, lead with the left leg. Note that the step forward is larger than the step back. Arms close to the body join the swinging motion of the pelvis as you step forward and back. As a tight group of 20 all going straight forward, 10 on a slight diagonal to the right, 10 on a slight diagonal to the left, 16 weaving in and out through the spaces between each other.
2. Step forward to stand parallel with high lift and both arms bent in front of the chest, hands together, palms out and elbows up.
3. Release the arms, bringing them behind the body line, leading with elbows, curve the spine, leaning forward as you release the leg up with the knee bent in front of the body. Repeat on the other side. Repeat a third time, but this time, continue walking with a leg in front of the body, three steps alternating legs in attitude. Repeat the whole thing from the high lift and at the end to the third high lift, do 25 steps with the leg in front of the body in attitude. Walking straight forward to the west.
4. After the last step, transition to butoh stance to become the beautiful maid walking down the mountain carrying a bouquet. 9 walks. To transition into the Courtesan.
Jay’s The Courtesan:
6 gestures, starting with 1, and building a sequence by adding the next gesture with each repetition as follows:
1, 1-2, 1-2-3, 1-2-3-4, 1-2-3-4-5, 1-2-3-4-5-6.
Walking with knees together as if wearing a kimono and geta on feet. The back foot moves forward, drawing a semicircle in the sand with each step.
1. Semicircle forward with right foot as the left arm wraps around a tree in front of the body while the right arm stays beside the body. R L R (feet)
2. Three steps forward as both arms, as if wrapped around a tree, swing side to side in opposite direction to moving leg. L R L
3. Three steps forward as the arms move up and down in front of the body. Alternate R L R. Water body wave initiating from the pelvis.
4. Three steps forward as the arms and torso do S curve (right elbow raised up, left elbow lowered down with arms extended outwards). L R L.
5. Six steps: three steps forward, raising arms over the head with flamenco fingers (spread fingers with palms facing down, then simultaneously turn right hand clockwise and left hand counterclockwise while closing one finger at a time starting with the baby finger into a closed fist with back of hand facing down, then reverse the wrist rotation as you open one finger at a time, repeat sequence 2 more times as you raise your arms overhead (trying to keep elbows lifted as long as possible, followed by three steps with arms descending behind the body, keeping the fingers moving and elbows lifted as much as possible.
6. Three steps forward with arms behind the body, fingers continuing to open and close one at a time. Spiral the upper body with each step, leading with the opposite shoulder.
Water bag-body:
1. Step to the right with a deep plié, swaying hips from left to right, lifting the right arm, leading from the elbow and curving the torso to the left. Sway hips from right to left, dropping again into deep plié with left hip moving away and torso leaning toward the right side, and the arms curving up to the right with palms up. Cross over the left leg with the right leg and follow with left leg stepping into same sequence on the other side. Repeat going to the right, then going to the left again.
2. Leading with the pelvis, step on the right foot, bringing feet to parallel, arms over the head into a tsunami Great Wave Off Kanagawa
3. Rolling up from the wave crashing down, step 90 degrees to right or left, with arms overhead and then drain body from openings in your feet waving your arms overhead, forward and back three times as you descend into a squat, curving over after the last wave. Turn again 90 degrees either way as water reverses its flow to fill up your body. Repeat sequence a total of four times. Finish with arms rolling up overhead.
4. Do eight turns to the right by continually turning your right foot out to bring heels together followed immediately by turning your left foot in to touch your toes together, with your arms helicoptering circles overhead with your forearms parallel and your elbows as axes, Do eight more turns to the left.
Beast:
Assuming the beast image, standing in fourth position, on demi point, knees bent, cow back, arms in front of the body with clenched hands, shoulders back. Angry face with corners of the mouth pulled back to bare clenched teeth.
1. Nine walks forward, changing direction every three steps. (Zig zag)
2. Repeat these walks, but this time add three brushes with the back foot (like a bull), then shift weight back and pick up the front leg with arms moving up, down, up, close to the body. (like a horse) at the end of each three walks.
3. Gallops to meet again further west along the sand bed.
Barbara Bourget and Salome’s – Blood and Tears
Elysian E - texture: Tension, Anguish time 9:14 min
1. Stillness, standing on a diagonal, with a visible or invisible partner, either slightly upstage right, or slightly downstage left (depending on which side you choose). Your partner may be 4 feet from you or 20 feet away. Both of you stand in an asymmetrical shape, with head turned slightly away from one another and hands resting on thighs, one slightly higher than the other. After a minute of standing with the body engaged with your asymmetry (get used to counting the number of inhalation/exhalation cycles that it takes for a minute to pass), your hands slowly clench and begin to drag up the thighs towards your waist as you begin a slow panning of the head toward your partner. When your head has turned as far as possible and you see your partner, take another minute (count your breaths again) to turn your body slowly until facing your partner with hips squared. Pause briefly with hands beginning to jerk randomly as they continue moving upwards. Continue to turn a full circle slowly, keeping your eyes focused on each other until out of sight, and then move your head quicker in the opposite direction to see each other's eyes again.
2. When facing each other again, move one leg forward or backward (depending on whether you are going to lean forward or backward) sufficiently far to enable a deep lunge forward and backward. Repeat lunges three times, gradually clenching your hands, first fist is sharp, the other has a different texture. Come to standing upright by moving the extended leg back or forward (reversing the initial supporting lunge leg movement).
3. Turn 360 degrees again with a slight spiral, with one hand slowly sliding across the torso to softly pushing the opposite shoulder back, mirroring each other (if turning to your right, your left hand will push your right shoulder); if turning to the left, your right hand will push your left shoulder
4. The inside hand’s fingers softly draw a tear of blood coming down the cheek. Then, you caress the face with both hands, bringing them down in front of the chest as if blood cascades from both eyes.
5. Fingers dance, reaching up and down, over the head and then back down. Slowly move away from each other on a diagonal line, your arms slowly extending toward each other as your middle back moves away. To repeat this movement, first pull your outstretched fingers in toward your chest and simultaneously move your chest towards your hands and then step away as you begin to reach out again with your middle back moving away. Repeat until equidistant from each other 10 or 12 feet apart.
6. Reverse arm and back movements to gradually come back together to meet at centre and begin cupping each other’s hands without touching them.
M’ocean - texture: Water, Flow time 6:42 min
1. Water bag-body. Find the body wave beginning with the pelvis softly waving forward and back, 4 times. The spine is soft, like seaweed in water, responding to the pelvis’ movement. Add arms, gradually lifting with each pelvic rock until they are over the head; 4 more waves.
2. Keeping the water wave in the body, begin to step back. Lifting the right arm over the head, say hello/goodbye. Repeat with the left arm, then the right arm. These are big water waves.
3. Begin to travel in a big circle clockwise as the arms circle around each other on the right side of the body, three times, then sway to the L, R, L. Repeat on the other side. The water body is now moving side to side, involving the ribcage. Then finish with water- arms moving up and down in front of the body.
4. Gather everything in with legs parallel. Press the back of the hands against the inner thighs until shaking. Desire! 20-30 seconds. Then let go.
5. Stepping in second with arms in front of the body, palms down, elbows close to the body: two small steps back and two small steps forward, small percussive upper body movements. The head turns as if someone is calling. Find active stillness once or twice.
6. Releasing the tension from the previous image, shift weight to one side of the body, either the right or left (as instructed), and leading one elbow up, and arch the body sideways, hanging by elbow +to the opposite side.
7. Heart offering: deepening the plié, releasing the torso and then, leading with the elbows, lifting the torso, unfolding to a high lift. Repeat on the other side.
8. Standing on left leg, spiral torso to right, reaching right knee with left hand. Step over with the right foot and take the left leg to a low attitude, with the left hand holding the inside of the thigh and the right arm up.
9. Shift the weight to the right leg and push the hip out as if a petal is landing on it. Gaze turns to the left.
10. The right hand reaches up and then it draws down through the face and neck, down into the belly as if there is blood running through the hand, into our face and down and out into the space, creating a sea of blood. Your arms are floating on it.
11. Continue drawing arms in front of the body, transfer the weight to the right leg, stepping back to stand in the 4th parallel. Drawing arms down and outwards in front of the waist.
12. Turn body to the right, moving from 4th to 2nd position, swaying arms R, L, R, L, elbows bent, palms down. Do slow panning from left to right, opening the right arm, tracing the space, as if floating on a sea of blood. Softly turn.
Morning - texture: Pulled, poked, pushed time 7:17 min
1. Hear the rooster in the music, turning your head or responding to the sound in some way. Look for the rooster.
2. Arms move up and down as if being moved by strings, couple of times, ending on a spiral with arms over the head. Repeat twice.
3. 4 Triplets. Traveling on a zig zag line. Begin always with the right foot, arms in 4th position, torso with a spiral, open chest, suspension at the end of the triplet. Movement is attacked. Sustaining the last releves and letting the left shoulder pull forward.
4. Leading with the shoulder, stutter. Shoulders move as if being poked, pushed, or pulled.
5. Tight rope around the body: arms crossed in front of the body, feet in narrow parallel. The body rocks side to side with tension.
6. Chin catches a petal on the shoulder. Right, left, right and left. As you continue to stutter.
7. Falling back: shoulder pulls the body back RL RL RL in three different directions with arms pulling in opposition. End with a deep arch in a wide 4th, palms facing out and fingers reaching down.
8. Recover to vertical at once with arms on second, gradually let them float, while strands of silver silk pull on the toes and the fingers. Shifting weight from the inside to the outer edge of the feet. The toes dance.
9. A failed embrace: bring right leg into parallel, spiral body to left bring wrap one arm in front of the body then the other arm if hugging someone. Then throw arms back and forwards, R L R L R. Repeat embrace and arms three times. Increase intensity with the repetitions. Finish with the arms hugging close to the body. Then begin to release torso as if breaking into pieces to finish with torso and arms hanging.
Ancient Leaves – texture: Animal time 4:35 min
1. Head to the floor, hands softly touching the floor. Lift the weight on to the toes, high tailbone, and come back to almost vertical, repeat two times to finish down (down, up, down, up, down, up and down on hands and knees).
2. On hands and knees, quick crawls right and left with cow back, looking for something. “Where is my mind?” Like a critter, elevate all senses: sight, smell, hearing, touch and taste. After a few explorations, crawl towards each other until we are neck to neck.
3. Pause and transition to plank, passing feet under alternating R L R L R to finish extending the body and the left arm reaching up.
4. Sitting down with legs extended, high lift with hands in front of the body, draw right knee in and open to second, guiding it with the right hand, do left and right and find the way to standing in parallel.
5. Simply standing. Hold stillness for 15 seconds.
(from 2010 WBB) - Walking meditation toward water
1. Meandering path with bucket of acid on top of your head. Smell the swamp in front of you. Smell the forest behind you. Walking diagonally toward the sea.
2. Climb over large boulder.
3. Climb uphill (lean forward).
4. Climb downhill (lean backward).
5. Throw bucket off head at water's edge (without using hands)
6. Stand still.
7. Hairy monster. Slowly turn to face cliffs. Walk backwards.
8. Beautiful maiden forwards toward cliffs.
9. Pull guts out with left hand and hold butcher knife with right.
10. Sink into water and turn to stone.
11. Crack the stone and turn to sand. Float on back.
12. Drift (paddle) out to sea.
13. Swim away.
14. Turn to audience. Wait for all to finish. Bow. Come together, hold hands and lift up. Bow.
(POSSIBLE TRANSITION IF NEEDED TO TRAVEL MORE) runs and assembles to the side, parallel with arms up in the jump. Travelling in a zig-zag pattern, start on the right foot, then to the left. Repeat as many times as needed to travel the chosen distance. Run 1, 2, 3, 4, assemble 5.
END
Addendum Notes
Applying White Makeup
• Pour water into makeup lid
• Wet sponge with water
• Rub wet sponge on white pancake until surface of sponge is completely covered with white makeup
• Start with head and work down. Apply quickly with long, overlapping, strokes. Reapply makeup to sponge frequently. Do not worry too much about evenness – just make sure that you have painted entire body
• Get help with your back, back of legs and arms when you have finished all you can see to cover
• When your back is done, have someone visually check that you are completely white
• When you are dry, rub your body vigorously to smooth out the strokes. Have someone rub your back
Removing White Makeup
• Wet your towel/washcloth with clean water.
• Do not use salt water from the ocean.
• Lather your towel/washcloth thoroughly will biodegradable soap.
• Thoroughly wipe your soapy towel/washcloth over all white surfaces to loosen the white makeup.
• Go down to the water and immerse yourself in shallow water and use your towel/washcloth to wash off the makeup